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<article article-type="research-article" dtd-version="1.2" xml:lang="ru" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink"><front><journal-meta><journal-id journal-id-type="issn">2408-932X</journal-id><journal-title-group><journal-title>Research Result. Social Studies and Humanities</journal-title></journal-title-group><issn pub-type="epub">2408-932X</issn></journal-meta><article-meta><article-id pub-id-type="doi">DOI: 10.18413/2408-932X-2026-12-3-1-9</article-id><article-id pub-id-type="publisher-id">4331</article-id><article-categories><subj-group subj-group-type="heading"><subject>MISCCELLANEOUS: MESSAGES, DISCUSSIONS, REVIEWS</subject></subj-group></article-categories><title-group><article-title>&lt;strong&gt;Modern film adaptations of Russian classics: features of audience perception&lt;/strong&gt;</article-title><trans-title-group xml:lang="en"><trans-title>&lt;strong&gt;Modern film adaptations of Russian classics: features of audience perception&lt;/strong&gt;</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author"><name-alternatives><name xml:lang="ru"><surname>Shatalova</surname><given-names>Yuliya N.</given-names></name><name xml:lang="en"><surname>Shatalova</surname><given-names>Yuliya N.</given-names></name></name-alternatives><email>shatalova_yu@bsuedu.ru</email><xref ref-type="aff" rid="aff1" /></contrib><contrib contrib-type="author"><name-alternatives><name xml:lang="ru"><surname>Eliseeva</surname><given-names>Alena I.</given-names></name><name xml:lang="en"><surname>Eliseeva</surname><given-names>Alena I.</given-names></name></name-alternatives><email>alenka.yeliseyeva@gmail.com</email><xref ref-type="aff" rid="aff1" /></contrib></contrib-group><aff id="aff1"><institution>Belgorod State National Research University</institution></aff><pub-date pub-type="epub"><year>2026</year></pub-date><volume>12</volume><issue>3</issue><fpage>0</fpage><lpage>0</lpage><abstract xml:lang="ru"><p>In modern Russian cinema, there is a tendency to rethink classic works of Russian literature. While the familiarity of the source material fosters interest in the film, it also predisposes audiences to biased perceptions. Considering the film adaptation as an independent work of art, combining an original narrative with modern aesthetic criteria and technical capabilities of cinema, the authors actualize the issue of the audience&amp;#39;s attitude to the film adaptation. Viewers&amp;#39; perception of film adaptations depends on many factors, including knowledge of the original source, familiarity with previous film adaptations, cultural context, and life experience. This article presents the results of a study examining audience perceptions of the film adaptations of M.&amp;nbsp;Lokshin&amp;#39;s &amp;quot;The Master and Margarita&amp;quot; and S.&amp;nbsp;Andreasyan&amp;#39;s &amp;quot;Onegin&amp;quot;. An analysis of audience reviews, the results of a survey and a focus group show that the positive perception of films depends on a number of factors: compliance with the spirit and idea of the original; the quality of acting; visual solutions; age and expectations of viewers (young audiences are more open to experimentation, mature prefer traditional reading). It&amp;#39;s important for viewers to maintain a balance between respect for the original and the creativity needed to attract a modern audience.</p></abstract><trans-abstract xml:lang="en"><p>In modern Russian cinema, there is a tendency to rethink classic works of Russian literature. While the familiarity of the source material fosters interest in the film, it also predisposes audiences to biased perceptions. Considering the film adaptation as an independent work of art, combining an original narrative with modern aesthetic criteria and technical capabilities of cinema, the authors actualize the issue of the audience&amp;#39;s attitude to the film adaptation. Viewers&amp;#39; perception of film adaptations depends on many factors, including knowledge of the original source, familiarity with previous film adaptations, cultural context, and life experience. This article presents the results of a study examining audience perceptions of the film adaptations of M.&amp;nbsp;Lokshin&amp;#39;s &amp;quot;The Master and Margarita&amp;quot; and S.&amp;nbsp;Andreasyan&amp;#39;s &amp;quot;Onegin&amp;quot;. An analysis of audience reviews, the results of a survey and a focus group show that the positive perception of films depends on a number of factors: compliance with the spirit and idea of the original; the quality of acting; visual solutions; age and expectations of viewers (young audiences are more open to experimentation, mature prefer traditional reading). It&amp;#39;s important for viewers to maintain a balance between respect for the original and the creativity needed to attract a modern audience.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>film adaptation</kwd><kwd>screen version</kwd><kwd>audience perception</kwd><kwd>audience</kwd><kwd>director’s interpretation</kwd><kwd>The Master and Margarita</kwd><kwd>Onegin</kwd></kwd-group><kwd-group xml:lang="en"><kwd>film adaptation</kwd><kwd>screen version</kwd><kwd>audience perception</kwd><kwd>audience</kwd><kwd>director’s interpretation</kwd><kwd>The Master and Margarita</kwd><kwd>Onegin</kwd></kwd-group></article-meta></front><back><ref-list><title>Список литературы</title><ref id="B1"><mixed-citation>Bluestone, G. (1961), Novels into Film, University of California Press, Berkeley, CA.</mixed-citation></ref><ref id="B2"><mixed-citation>Dukhovnaya, T.&amp;nbsp;V. 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